Tuesday, April 21, 2009

The organ in the Groote Kerk, at Maassluis was built by Rudolph Garrels (1675-1750) in the years 1730-1732. It was a gift of Govert van Wijn, a wealthy resident of Maassluis, owner and treasurer of the College of fisheries. On December 4th, 1732, the 90th birthday of Govert van Wijn, the transfer and inaugural concert took place.

Rudolph Garrels was born in the East Frisian place Norden. As an apprentice he had learned the trade from the renowned German organbuilder Arp Schnitger. Like so many students of this famous organ builder, Garrels also went across the border and settled in Groningen. From this city he built several instruments in the Schnitger tradition, and one still exists: the organ of Anloo (1718). Garrels then went to Holland and lived in Leiden and Den Haag.

In the later work of Rudolph Garrels we find a synthesis between the Dutch and German organ building. In particular, the three manual organ of Maassluis is a good example. Garrels had the sculpture and carving work on the organ done by the Maassluis cabinetmaker and sculptor, Daniel de Vries.

The structure of the nine-section facade of the great and the upper work reminds of the design of some Schnitger-organs, but is closer to the instruments of the Duyschot tradition. Characteristic is the vertical line, as opposed to the North German horizontal emphasis. This perspective is created by the large front pipes being placed in the central tower and the placement of the towers on both sides at a lower height. The beautiful wooden roof of the case, in a descending line on both sides, forms a connection between these three points.

Modern in the Maassluis façade is that the lower section of the case, is extended right under the pedal towers. These are just some elements that indicate a synthesis between the architecture of Schnitger and the shape and influences of the Dutch organ tradition of Hagerbeer - Duyschot. In the construction of the disposition we also find examples of this. Garrels placed on each manual a Trumpet 8 'while the bovenwerk received a Vox Humana 8' in combination with a Baarpijp 8' and a Quintadeen 8'. Also in the placing of a Cornet on the hoofdwerk Garrels is guided by examples from the Dutch school.

In the course of time the organ of Maassluis did not remain safe from varying musical tastes of organists and organ builders. More or less substantial alterations on the instrument were made by Jacobus Robbers (1772-1773), Andries Wolfferts (1789-1801), Abraham Meere (1805), Jonathan Batz (1840), Michael Maarschalkerweerd (1881) and two generations of van Leeuwen ( 1938-1965).

A first restoration, which tried to go back to the original state of 1732, took place in the years 1956 to 1965. Soon it became evident that the organ needed a thorough restoration. In 1975, the then sitting regents decided to commence a major restoration to proceed and restore the Garrels organ to its previous splendor and thus preserve it for posterity. The extensive plan received the full consent and cooperation of the National Monuments board. The contract was given to the organ makers Pels & Van Leeuwen. The government board’s advisor for organs, Drs. O. B. Wiersma, supervised the project in close cooperation with Dr. M.A. Vente and the organist of the Great Church, Feike Asma.

In the realization of the restoration plan, the respect for the work of Rudolph Garrels was pivotal. Despite that, return to the situation of 1732 was not possible. An important point of consideration was the state of the instrument in 1840, when Jonathan Batz for the first time in many years returned the organ to a playable state.

During the restoration, the entire wind facility was renewed. The windchests of the hoofdwerk, and the pedal and the rugwerk were as much as possible restored to their original form. The disappearance of the bovenwerk’s windchest was remedied by using old handcraft skills to reconstruct and install a new windchest. The entire register mechanics were replaced by new mechanical stops. Much of the historic pipe material was damaged in the course of time. This had to be repaired or newly built in the old style. The Open Subbas 16 '(1938) and Bazuin 32' (1975), which were both placed on a separate chest behind the organcase, were maintained. This allowed the organ, after the restoration of 1978, to have a broader base.

above: the rugwerk

In 1996, various repairs became necessary. The large bellows in the tower began to exhibit various leaks and had to be re-leathered. At the restoration of 1978 this was not done. Also in the rugwerk there were leaks, which were audible in the church. The extensiveness of the renovation resulted in a request and approval of a grant by the National Monuments. The consultant, Rudi van Straten, suggested a number of matters that were not in 1978, addressed directly, to have these taken care of in the next major maintenance. Meetings followed between organ builder Pels & Van Leeuwen, the National organ advisor Henk Kooiker and organist Jaap Kroonenburg.

It is important to mention that all parties agree on the sound of the organ, it should remain unchanged.

In December 2000, the bellows are again re-leathered and the leakage in the rugwerk is addressed. These were the most urgent problems.

In October 2001 the pipes of the rugwerk were removed for inspection. Many pipes,being an alloy of lead and tin, were found to be affected by acids in the oak chests that occur naturally. Several pipe feet appeared to be affected and are sent for repair to the orgelmakerij of Pels & Van Leeuwen. The wind chests were found, after checking for leaks, to be in a very good condition. The key action is reviewed and adjusted, so that the key motion is as smooth as possible.

In the first quarter of 2002, the hoofdwerk and the pedal are inspected.Some pipes were too short and somewhat pinched on top. These pipes have been extended so they can speak freely and better retain their pitch. Stops as Mixtuur of the bovenwerk and the Scherp of the hoofdwerk now blend better in the overall organ sound.The Cornet of the hoofdwerk has clearly improved and has become more useful as solo voice. The intonation of all stops is regulated and the wind supply is re-adjusted so that the organ now in a splendid condition. It remains a necessity to maintain regular maintenance to this over 270 year old gift from Govert van Wijn. To keep the organ in the best condition for playing during worship, and, given the stated conditions from Govert van Wijn, the church also needs to ensure that the organ's contribution to the organ culture in Maassluis and beyond, will continue. The organist is also obligated by his letter of appointment, to provide some organ concerts each year. There is an organ committee to ensure that such activities are organized. The proceeds will be contributed to the maintenance of the organ. And that is necessary, for maintenance, voicing and tuning, adjustments to the trackers etc. annually, substantial amounts are needed.

In this way, all efforts work together to maintain this magnificent instrument, which is widely appreciated for it’s beautiful sound and it’s many unique voices, and is capable of interpreting organ music of all periods.

Monday, April 6, 2009

HISTORYThe instrument was completed in 1686 by Roelof Barentsz. and Johannes Duyschot. At that time it had two manuals and pedal. A Bovenwerk was added by Christian Vater in 1727. In the following centuries the organ was altered many times in order to adapt it to continually fluctuating sound ideals. Following the restoration of 1939 an untenable situation had arisen in all respects.

In the period 1989-1992 the organ was rebuilt by Flentrop Orgelbouw using the situation of 1686/1727 as a point of departure. Only about 600 pipes from that period were still present in the instrument. 3000 new pipes were made based on analysis of the material still present. Three reeds were added to the old disposition: Dulciaan 8', Fagot 16' and Trompet 4'. The original windchests, still present in altered form, were restored. Mechanical action was once more provided, new key-boards and stopknobs were constructed in the original style. The front pipes (1845) of the Hoofdmanuaal, Rugpositief and Pedaal were retained. The Baarpijp dating from 1895 was again introduced. The 17th century pitch, at a'460 Hz., was altered to a'440 Hz. by means of moving up the pipework, equal temperament was the chosen tuning. As a result combination with other instruments and the performance of 19th and 20th century music was made possible.The parts remaining from the old organ were too fragmentary to be able to speak of a restoration or reconstruction. Rebuild is the most suitable term. The original case, wind-chests and about 20% of the pipework from the 17th and 18th centuries made their mark on this project. The creative interpretation of the past by the organbuilders certainly contributed to the result: an organ with historical roots that is also usable for the cultural and religious function of a large city church.

Jos van der Kooy - Ich ruf' zu Dir, Herr Jesu Christ

Jos van der Kooy - Cantilena J. Rheinberger

Not until 1686, when organ accompaniment to singing had become customary, was the Westerkerk organ built by the father and son team of Roelof Barentszn Duyschot and his son Johannes Duyschot. In 1727 it was considerably extended by Vater, and it was further enlarged in the 19th century. Between 1988 and 1991 Flentrop of Zaandam restored the organ as nearly as possible to its original condition of 1686/1727.

Saturday, April 4, 2009

Ruffatti Organ
Built in 1971 by Fratelli Ruffatti in Padua, Italy
4842 pipes on 89 ranks and 69 stops

Noel Variations for Organ by Claude Balbastre

Performed by John Balka on the Ruffatti Organ at St. Mary's Cathedral San Francisco

IV Manuals / 89 Ranks / 4842 Pipes

Featured on the Reference Recordings CD - "The Great Organ at St. Mary's Cathedral" RR-98 HDCD
(used with permission) This montage features Ruffatti organs, of which the first three pictures are from St. Mary's.

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The organ, built by Fratelli Ruffatti of Padua, Italy, has been acclaimed as one of the finest in the world. It rises impressively from its soaring pedestal platform into a magnificent art form in its own right. The technical details on the Ruffatti organ are included in this site for those who are interested in information on the pipes, ranks, and stops of the organ.

Friday, April 3, 2009

The organ was built in 1778 and represents a unique rococo instrument. This organ is the in the art of organbuilding by the family Van Peteghem who, between 1776 and 1787, enriched Flemish organ with a number of organs. They are esthetically the best which were made at the time. The Haringe organ is no doubt the best preserved instrument of that period. It not only survived because of its solid construction but it escaped all the different tastes in organ-building and renovations over the years. The organ has never been rebuilt and the different registers have never been modified to bring them into line with new tastes. On top of that it has an extensive stop list. The combination of all these elements makes this organ the embodiment of the Flemish organ collection which is recognised by organ-players all over the world. The organ has been renovated by J.P. Draps en G. Potvlieghe under supervision of the department of Monumentenzorg (Mr. Fouconnier en P. Roose) and took place in between 1993-1994.

The particulars of the organ are as follows:
The organ is tuned with the temperament of Rameau with a' = 404 Hz. measured 13-09-2007 on the Prestant 4' at 18° Celcius or 64.4° Fahrenheit. 1092 pipes have been placed in front of the Great Organ as well as 54 (which were not origionally there) extra at the last renovation(Bombarde 16'). For the Positiv, 627 pipes have been used as well as 150 for the Echo division. Together with the 6 pipes of the Tambours makes it a total of 1929 pipes. The action is completely mechanical and the pedal board is fixed to the Great. All stops with the exception of Bombarde have been made by van Peteghem himself.

In 1777 it was decided to demolish the old organ and to build a new one.
The reverend Franciscus Voormezele, he was then priest of Haringe, was a passionate music-lover. Thanks to him Haringe is in the possession of its beautiful organ, built by the organmaker Pieter Van Peteghem in Gent. (1708-1797) In 1733 he settled in Gent. Soon he was a famous organbuilder and he outperformed all his fellow organ builders.

The organ was ordered for in 1778, and was finished and placed in a year. The cost was "far above 5000, close to 6000 guilders". The sculptor was Jean Elshoecht, born in Brussel but later living and working in St. Winoksbergen (Bergues, French-Flandres). For his exceptional work of art he received 350 French crowns.

Buxtehude - Lebègue on van Peteghem organ, 1778, Belgium Ton Koopman

On 17th of april 1779 the first performance concert on the organ took place. The organ is maybe the most original of all organs made by the dynasty Van Peteghem. It survived not only by it's solid construction but there were never changes. The stops were never adjusted to the different tastes and trends during the centuries. Currently it still has its original structure. The exceptional pedalsystem and, the old "trommelenspel", are the only ones of their kind well preserved and still in use.